Articles de revues sur le sujet « National monuments – France »

The article is devoted to the analysis of the memorializing strategy of the heroes and victims of the First World War in France. It is revealed on the examples of the history of several monuments in various provincial departments. The article shows that some of these monuments have been established not as the state agencies initiative, but by grass-route activists, and, in contrast to common militaristic messages, the commemoration of soldiers and victims by this monuments has frankly pacifist features.

Claus Leggewie and Erik Meyer, “Ein Ort, an den man gerne geht” Das Holocaust-Mahnmal und die deutsche Geschichtspolitik nach 1989 (Munich: Carl Hanser Verlag, 2005)Karen E. Till, The New Berlin: Memory, Politics, Place (Minneapolis: University of Minnesota Press, 2005)Peter Carrier, Holocaust Monuments and National Memory Cultures in France and Germany since 1989: The Origins and Political Function of the Vél’ d’Hiv’ in Paris and the Holocaust Monument in Berlin (New York: Berghahn Books, 2005)

The 17th General Assembly of the International Council on Monuments and Sites (ICOMOS) took place at the UNESCO Headquarters, Paris (France), from 27 November to 2 December 2011, under the high patronage of Irina Bokova, Director General of UNESCO, and Nicolas Sarkozy, President of the French Republic. The events included meetings of the Advisory and Executive Committees, the Scientific Council, International Scientific Committees (ISCs); the Scientific Symposium; and the General Assembly. According to the ICOMOS official report, this conference had a record attendance of 1200 registered participants, representing 106 countries and 77 National Committees. The generous grants offered to National Committees through the ICOMOS Victoria Falls Fund and the Getty Foundation made it possible for 63 professionals from 47 countries to attend the event.

In the slipstream of the Black Lives Matter movement in the United States, there has been a global mobilisation around monuments and statues of famous figures involved in the slave trade and European colonial conquest. In former colonial states – such as France and Britain – and states shaped by the legacies of slavery – such as the United States – activists have defaced, damaged or torn down monuments associated with these contested pasts. This is hardly a novelty. The destruction of physical symbols is often a response to regime change. But, in this case, the mobilisation has taken a different form. Instead of legitimising a new regime and new elites, the destruction of monuments is part of a demand for justice from historically marginalised groups who are seeking to reclaim their heritage. The deconstruction of these monuments automatically entails the deconstruction of dominant national narratives that have contributed to such marginalisation.

AbstractOn 11 October 1941 the Vichy government passed legislation mandating the dismantling and smelting of French bronze statues and monuments in the public domain. Crippled by copper shortages and bound by the terms of the Franco-German armistice, the etat français sought to ‘mobilise’ all potential sources of non-ferrous metals, including public statuary. The statue of Mistral in Arles was one of the monuments that were dismantled. The destruction of this tribute to the Provençal poet and founder of the Félibrige sparked considerable protest and opposition, but from an unusual quarter – supporters of Pétain's National Revolution. The case of the destruction of the statue of Mistral in Arles reveals the intersection of regionalism and resistance in wartime France and challenges many of our perceptions about both these movements.Ame de Mon PaysAme éternellement renaissanteAme joyeuse, fière et viveQui hennis dans le bruit du Rhône et de son vent!Ame des bois pleins d'harmonieEt des calanques pleines de soleilDe la patrie, âme pieuseJe t'appelle! Incarne-toi dans mes vers provençaux!1

The authors’ research attention is focused on the specifics of the Australian memorial practices dedicated to the World War I. The statement is substantiated that in the Australian context memorials and military monuments formed a special post-war and post-traumatic part of the visual memory of the first Australian global military conflict. The features of the Australian memorial concept are clarified, the social function of the monuments and their important role in the psychological overcoming of the trauma and bitter losses experienced are noted. The multifaceted aspects of visualization of the monumental memory of the World War I in Australia are analyzed. Monuments and memorials are an important part of Australia’s visual heritage. It is concluded that each Australian State has developed its own concept of memory, embodied in various types and nature of monuments. The main ones are analyzed in detail: Shrine of Remembrance in Melbourne (1928–1934); Australian War Memorial in Canberra (1941); Sydney Cenotaph (1927-1929) and Anzac Memorial in Sydney (1934); Desert Mounted Corps Memorial in Western Australia (1932); Victoria Memorials: Avenue of Honour and Victory Arch in Ballarat (1917-1919), Australian Ex-Prisoners of War Memorial (2004), Great Ocean Road – the longest nationwide memorial (1919-1932); Hobart War Memorial in the Australian State of Tasmania (1925), as well as Villers-Bretonneux Australian National Memorial in France dedicated to French-Australian cooperation during the World War I (1938). The authors demonstrate an inseparable connection between the commemorative practices of Australia and the politics of national identity, explore the trends in the creation and development of memorial practices. It is noted that the overwhelming majority of memorial sites are based on the clearly expressed function of a place of memory, a place of mourning and commemoration. It was found that the representation of the memorial policy of the memory of Australia in the first post-war years was implemented at the beginning at the local level and was partially influenced by British memorial practices, transforming over time into a nationwide cultural resource.

The authors’ research attention is focused on the specifics of the Australian memorial practices dedicated to the World War I. The statement is substantiated that in the Australian context memorials and military monuments formed a special post-war and post-traumatic part of the visual memory of the first Australian global military conflict. The features of the Australian memorial concept are clarified, the social function of the monuments and their important role in the psychological overcoming of the trauma and bitter losses experienced are noted. The multifaceted aspects of visualization of the monumental memory of the World War I in Australia are analyzed. Monuments and memorials are an important part of Australia’s visual heritage. It is concluded that each Australian State has developed its own concept of memory, embodied in various types and nature of monuments. The main ones are analyzed in detail: Shrine of Remembrance in Melbourne (1928–1934); Australian War Memorial in Canberra (1941); Sydney Cenotaph (1927-1929) and Anzac Memorial in Sydney (1934); Desert Mounted Corps Memorial in Western Australia (1932); Victoria Memorials: Avenue of Honour and Victory Arch in Ballarat (1917-1919), Australian Ex-Prisoners of War Memorial (2004), Great Ocean Road – the longest nationwide memorial (1919-1932); Hobart War Memorial in the Australian State of Tasmania (1925), as well as Villers-Bretonneux Australian National Memorial in France dedicated to French-Australian cooperation during the World War I (1938). The authors demonstrate an inseparable connection between the commemorative practices of Australia and the politics of national identity, explore the trends in the creation and development of memorial practices. It is noted that the overwhelming majority of memorial sites are based on the clearly expressed function of a place of memory, a place of mourning and commemoration. It was found that the representation of the memorial policy of the memory of Australia in the first post-war years was implemented at the beginning at the local level and was partially influenced by British memorial practices, transforming over time into a nationwide cultural resource.

Abstract At the end of the First World War, the memories of the conflict which developed in France and Germany diverged widely. However, Paris and Berlin were something else than just a genuine reflection of their respective national context; their status as capital cities gave them common characteristics. Therefore some similar phenomena appear. On the one hand, those cities may offer a national backing to particular memories, which was especially sought. On the other hand, the concentration of marks of memory in those cities tended to consolidate them in an always more exclusively national role. Thus, a kind of reciprocal nationalization of memory by capital cities and of capital cities by memory occurred. This nationalization is particularly visible in the analysis of the national monuments that emerged in the post-war years. Nevertheless, such phenomena underline variations between Paris and Berlin: Paris stood out without any difficulty as the capital of France, even of the Allied world, while Berlin stood out as the capital of Prussia, with more difficulty as the capital of Germany.

La Direction du Patrimoine, qui relève du Ministère de la Culture et de la Communication, a pour missions ‘de conserver, de protéger et de mettre en valeur le patrimoine national de la France’, le patrimoine étant entendu comme le bien reçu des générations qui nous ont précédés et que nous avons la volonté de transmettre aux suivantes.Le mouvement de déconcentration mis en oeuvre par l’administration française a eu pour effet de confier la prise en charge opérationnelle de ces missions aux Directions régionales des Affaires culturelles (DRAC). Ainsi, dans les 26 régions de France, chaque DRAC compte en principe en son sein quatre services régionaux du patrimoine: respectivement, de l’Archéologie, des Monuments historiques, de l’Ethnologie et de l’Inventaire, la Direction centrale assumant le rôle de définir la politique générale, d’impulser les actions et de les coordonner, enfin de les évaluer.

The national project for the measurement of radiocarbon includes different scientific partners for the accelerator named ARTEMIS (French acronym for Accélérateur pour la Recherche en sciences de la Terre, Environnement, Muséologie Installé à Saclay), available to the scientific community since 2004 (Cottereau et al. 2007). The French Ministry of Culture uses this accelerator mass spectrometry (AMS) facility at the request of archaeologists or curators of museums or of historical monuments. For the preparation of some samples, a laboratory has been installed at the Centre of Research and Restoration of the Museums of France, located in the Louvre Palace. In this report, the first data carried out on vegetal samples from museum objects or archaeological remains, dates are presented in terms of yr BP (before AD 1950).

The article examines the European experience of creating war memorials dedicated to the World War I, using the motives of medieval architecture. The fascination with the Middle Ages, spread through the art and literature of the Neo-Gothic and national Romanism period, was emotionally rethought by the generation that survived the catastrophe of the global conflict of 1914–1918. At the new stage, the symbolic harsh images of the Middle Ages turned out to be more consonant with the social creation of former front-line soldiers than the classical antique forms used in the memorialization of wars in the 18th–19th centuries. This process was reflected in the commemoration of the Great War in Great Britain, France, Germany and other countries, where the monuments to the fallen began to give the appearance characteristic of the towers, fortresses and castles of the long-gone Middle Ages, giving them a new interpretative meaning.

Abstract In June 1790, the Assemblée nationale decided that the statues of slaves surrounding the monument to Louis XIV on the Place des Victoires were offensive to the inhabitants of some French provinces, and should be removed. This triggered a wide-ranging debate in the Parisian press, with calls for the conservation of the monument or for the use of the statues in a new setting. The discussion dealt with the monument’s iconography, but also with its aesthetic and historical significance, and reflected wider debates on slavery and on the (un)popularity of the monarchy. The article analyses these arguments, points out the importance of public monuments in Parisians’ relation to their city, and shows how the removal of these statues was part of a climate of construction, rather than destruction.

This article gives careful consideration to the route of Mykhailo Bernov’s hiking journey through the colonial possessions of France in North Africa in 1894 while he was a correspondent for the Parisian publication «Le Petit Journal». The source basis of the study is his work “Spain, Algeria and the Sahara” (St. Petersburg, 1899) and data from French periodicals (metropolitan and colonial). Attention is paid to Mykhailo Bernov’s perception of the peculiarities of the national character and way of life of the peoples who inhabited the region at the end of the 19th century. In fact, he was faced with the task of overcoming the “barrier of civilization” and he correctly identified the main “watershed” that should at least try to “cross”. This is religion. Mykhailo Bernov paid great attention to acquaintance with natural objects such as deserts, mountains, Hammam-Meskutin. His visits to the monuments of antiquity – ancient Roman cities (mostly ruins of the late Roman period) – Hipon-Regia near Bonn, near Batna – Lambes and Timgad, a Roman colony on the way to Carthage – are described separately. He calls Timgad “Algerian Pompeii” – the city has survived thanks to the sands, the onset of the desert due to climate change. Mykhailo Bernov noted that the Arab, classical and general ancient monuments in Algeria are in good condition. They are not destroyed specially, not stretched, as in the “South of Russia” for building materials. Bernov carefully captures interethnic contradictions in the cultural, national, political and administrative spheres, in fact, he ignores the ways to solve these problems. Mykhailo Bernov’s contribution to the popularisation of hiking and acquaintance of the general public with the tourist potential of Algeria and partly Tunisia is determined. It is shown that Bernov partially repeats the stamps and uses terminology to denote ethnonyms and social statuses, which have acquired a negative connotation in the modern world. His descriptions of many cultural, archeological and natural sites, which have significantly changed their appearance today, can be considered positive.

The article examines the positive and negative experience of the consolidation of French and German citizens in process of nation-building by means of culture. The research deals with: practice of collecting masterpieces that influenced the development of public museums and the ability to defend national interests; the practice of consolidation of citizens around monuments of cultural figures; practices of confrontation between conservative intellectuals and modern artistic circles, which led to the fight against dissent, the destruction of books and the formation of the ideology of Nazism; practices of nazification of the education system, which revealed growing of the conflict between ideal virtues and the real behavior of participants in the educational process and politicians, and which subsequently legitimized absolute obedience to the leader; practices of collecting library collections, accompanied by theft of public libraries and private collections. The positive consequences of the consolidation citizens with the help of cultural institutions are indicated: the institutionally formed sphere of culture allows citizens to experience national pride, to be aware of themselves as a part of an original and rich national culture, to form their national identity. Cultural institutions create a space, which creativity is encouraged, opportunity for public discussions about culture and society are provided; educational and scientific activities are carried out. Recommendations on building a strategy for the cultural policy of Ukraine: the sphere of culture should be aimed at consolidating citizens; should expand the possibilities of various subjects of cultural activity and minimize the negative influences of the state; should expand access to quality education that fosters a culture of critical and creative thinking; should expand opportunities for international cooperation in educational and cultural projects based on the values of rights and freedom of individuals, mutual understanding and mutual respect of representatives of different cultures.

Introduction. The present review article is devoted to written Mongolian collections from repositories in different regions of Russia, which were formed thanks to the selfless work of brilliant Orientalists. At present, there is an urgent need in systematization, analysis, search for information, and distant access to archival records and written sources, which will give researchers more opportunities for distant work with sources. Accordingly, perspectives of using information technologies will fascilitate the coordination and wider cooperation, as well as greater openness in the academic environment, the urgency of which is quite obvious. It is the right moment, too, because, first of all, the data on written sources is still scattered in a variety of publications; secondly, 2018 saw the launch of a grandiose project ”World Heritage of Mongolians”, which is primarily designed to create a uniform inventory of historical-documentary heritage of Mongolian peoples. The project plans include the publication of twenty volumes to present collections of written monuments dispersed in various countries of the world: Russia, Japan, China, the USA, France, Denmark, Hungary, etc. Three volumes will be devoted to Mongolian sources from Russian repositories. The purpose of the present article is to give an overview of the repositories of the documentary heritage of the Mongolian peoples in different regions of Russia. Results. The largest collections of Mongolian written sources are stored in St Petersburg (Scientific Library of St Petersburg University, Institute of Oriental Manuscripts of the Russian Academy of Sciences, State Museum for the History of Religion, National Library of Russia), in Buryatia (Center for Oriental Manuscripts and Xylographs, Institute for Mongolian, Buddhist and Tibetan Studies of the Siberian Branch of the RAS; V. A. Obruchev Kyakhta Museum for Local Studies), in Tyva (Aldan-Maadyr National Museum of the Republic of Tyva, Scientific Archive of the Tyva Institute for Studies in the Humanities and Applied Socio-Economics), in the Republic of Tatarstan (National Archive of the Republic of Tatarstan), and in Kalmykia (Scientific Archive of the Kalmyk Scientific Center of the Russian Academy of Sciences, National Archive of the Republic of Kalmykia, N.N. Pal´mov Kalmyk Museum of Local Studies); these comprise representative collections, including rare and unique monuments of Mongolian written literature. Some of these collections have been studied to a degree, but there are still many to be introduced into scientific circulation. That is why it is of urgent importance to represent written Mongolian sources, their significant part kept in Russian repositories. Further work on identifying and describing the documentary heritage of the Mongolian peoples will contribute to our knowledge of the field that still needs to be investigated.

This article considers the formation of hiking in the Russian Empire and Europe in the late 19th century. Its socio-cultural context is also defined. Particular attention is paid to the person of Mykhailo Bernov as one of the founders of hiking in the Russian Empire and Europe and his multifaceted activities in the development of communication between peoples, social actualization of knowledge about the world. Biography, information about popularization activity and publishing activity of Mykhailo Bernov are also given.In the first part of this study, the route of Mykhailo Bernov’s journey from France to Spain, and then through Spain, Algeria and the Sahara in 1892–1893, was reconstructed on the basis of his “travel notes” “Spain, Algeria and the Sahara” (St. Petersburg, 1899) and periodical data.Mykhailo Bernov left detailed descriptions of nature, countryside and major cities of Spain, monuments of history, culture and art, accompanied by historical excursions, interpretation of their own names. Special attention is paid to the peculiarities of Spanish opera and theatrical life.It is concluded that sincere interest and respect for local traditions, thorough general training allowed Mykhailo Bernov to create in his notes a broad and colourful canvas of life of the country and people of Spain in the late 19th century, to capture the features of national culture and character. Bernov’s “travel notes” are based on direct communication with the Spanish common people, representatives of the elite and the administration, acquaintance with folk culture, examples of high art and literature. In his notes he makes comparisons of Spanish people with other nations. Bernov tried to understand Spain and its people, sought common socio-cultural features and values, and explained the features of “otherness” by nature, religion, state foundations, the course of history, and so on.Mykhailo Bernov’s notes on his travels in Spain as a source, in our opinion, contain a lot of useful and interesting information for researchers on the history of hiking, monuments, archaeology, ethnography, etc.

The library holds 87 phaleristic awards 1919–1939, from Austria, Great Britain, Canada, Czech Republic, France, Germany, Hungary, Poland, Serbia, Sweden, Ukraine, USA. Among these awards we can conditionally distinguish the following thematic groups: Ukrainian and Ukrainian related awards, foreign phaleristic, international professional congresses. In these groups it is possible to distinguish subgroups representing different individual aspects of social life in Ukraine and in other countries in 1919–1939. Ukrainian and Ukrainian related honors include: Ukrainian-language honors made in Ukraine; honors of the Ukrainian Diaspora; non-Ukrainian-language honors made on Ukrainian lands. Foreign phaleristics are represented by thematic subgroups: state distinctions (Serbian Order of Saint Sava, Polish medals, etc.); non-state public awards; phalleristics of public organizations (the Red Cross, associations of librarians, doctors, electricians, technicians and others); German and Polish phaleristics on the occasion of a plebiscite in Silesia in 1921; monuments of cultural and artistic events; business awards (ASEA, Leica, Germany) and more. Distinctions of international professional congresses concern mainly medical organizations: I General Congress of Slavic Physicians in Warsaw 1927; The 1st, 2nd and 3rd Congresses of the Union of Slavic Dermatologists (in Warsaw in 1929, in Belgorod in 1931 and in Prague in 1934); The Third International Pediatricians Congress, London, 1933; IX International Congress of Dermatologists in Budapest 1935. Available in the library’s collection a memorial award of the International Congress of the World Union of Electricity Producers and Distributors in Paris, 1928 (two variants of decoration with different mounting methods). Keywords: phaleristics, awards, international professional congresses.

The article is devoted to the historical and cultural aspects of the development of Czech art in the late Middle Ages on the example of an exhibition held from August 16 to November 3 at Prague Castle, which was dedicated to the 600th anniversary of the death of the Czech and Roman King Wenceslas IV. The author of the article considers the significance of the Czech culture and sacred art in the context of the political and historical specifics of the development of medieval Bohemia and the features of the reign of Vaclav IV, who wasthe son of the Holy Roman Emperor and the Czech King Charles IV . Wenceslas IV is a complex and controversial figure in Czech history, who stood at the «crossroads» of epochs and cultures, around him various disputes persist in historiography up to our time. This article provides an overview of the nature of the sacred artifacts of culture and art presented at the exhibition «Czech and Roman King Wenceslas IV: «beautiful style» of Gothic art», as well as the characteristics of the artistic style , defined in terms of historical and cultural, internal and external political development of the Czech Republic, crosscultural dialogue of the Czech Republic with European countries on the background of the emerging religious controversy in the country. The work takes into account the features of the Late Gothic style in the Central Europe. On the example of the remarkable works of painting, sculpture, fragments of architectural monuments, decorative and applied art and manuscripts, first of all the monumental Wenceslas Bible, many of which were brought to Prague from various European Galleries and Castles of Poland, Germany, France, New York, as well as from private collections, can demonstrate the rise of Czech culture and art in the late XIV-early XV centuries, which was presented the process of cultural accumulation of the European style of the late Gothic, received Czech national artificial identity.

The article investigates interrelation between philosophy of ethnoculture, ethnoculturology and ethnoculturography as components of modern culturological discourse. Aim of the article is to extend the idea about the structure of modern culturological knowledge and, in particular, to analyze how philosophy of ethnoculture, ethnoculturology and ethnoculturography correlate with each other. In connection with this there is an important task − to ground the notion of ethno-culturalography as a discourse of science and art, in particular the discourse in which ideas, archetypes, signatures and values of ethnoculture are represented in a figuratively-artistic form. The methodological value of philosophy of ethnoculture is revealed for the construction of conceptual paradigms and conceptual tools of ethnoculturology and culturological regional studies. The concept of ethnoculturography as representation of ethnoculture in artistic images of literature and art is entered in modern sciences about the culture for the first time. In particular, ethnographic approach to artistic creativity is analyzed on the examples of painting of well known Ukrainian artists Olha Petrova and Anatolii Furlet. The author understands ethnoculturology as synthesis of scientific artistic reflection that combines knowledge of ethnocultures with their pictorial reproduction by means of artistic and aesthetical facilities. For instance, ethnoculturography in painting requires a special type of discourse, where metaphysics, aesthetics, semiotics and chronotopes of the region are crossed with artistic vision, individual practice of the artist. In works of Anatolii Furlet it is manifested through artistic restoration of the mystic world of ancestors connected with "A Stone Grave" near Melitopol − one of the oldest monuments of world and national culture. For ethnoculturology of Olha Petrova the "spirit of nation" in its multicultural measurements was presented at the exhibition "Other Shores". Five "shores" of spiritual oecumene of the artist (France, Spain, Ukraine, Arabic East, Japan) outline ethnic horizons of her real and virtual travels in space and time of Eurasian cultures. Consequently, ethnoculturology practically becomes an original guide-book, a road sign (vade mecum) in the world of ethnocultures.

Socio-economic indicators of the Irkutsk region, Buryatia and the Far East, dynamics of their development in 2016-2017, and problems and prospects are considered in this paper. Today, the priority for the regions of Siberia and the Far East, which possess unique natural resources and a vast territory, is the complex task of increasing the living standard of the population and launching a new economic strategy. The Irkutsk region is one of the largest industrial regions of Russia. The city of Irkutsk was formed as an administrative, commercial and cultural-educational center. Currently, it is home to more than 50% of the urban population of the Irkutsk region. Some enterprises of the city have a machine-building profile. The production of food (more than 45% of the total volume), the construction material, and wood processing also play an important role. External migration has a significant impact on the demographic situation in the region. Most of the migration processes with the crossing of the boundaries of the region take place within Russia. According to statistical data, external migration can be divided as the three main flows of foreign citizens entering the territory of the Irkutsk region: the Central Asian direction (Uzbekistan, Tajikistan, Kyrgyzstan, and Kazakhstan 44.3%); the East Asian direction (China, Mongolia, DPRK, Japan, and Vietnam 30.8%); and the Western direction (Germany, France, and Poland). It should be also noted that 13.9% of all migrants are migrants from Ukraine, Armenia, Belarus, and Moldova, these are mainly young people of working age. The Baikal region is famous in Russia for its natural landscapes: there are more than 1,500 objects of excursion and cognitive significance (natural, architectural, cultural and historical monuments) in the region. The region has a great industrial potential that is of national importance. Several basic complexes and industries compile a modern industrial structure. There are opportunities for further development of the industrial production in the oil and gas industries, diamond mining industry, the production of composite materials, fibers and mineral fertilizers. On the Far East, priority is given today to the raw material economy and the related infrastructure facilities, including the modernization of the Trans-Siberian Railway and the Baikal-Amur Mainline.

Introduction. The paper briefly reviews the current state and prospects of Mongolian studies at the Institute of Oriental Studies (RAS) that celebrated its 200th anniversary in 2018. The Institute maintains and strengthens its positions as a leading national and global research center for Oriental studies. Goals. The study attempts at summarizing the Institute’s 2010–2020 experiences in developing Mongolian studies as a traditional branch of Russia’s Oriental studies, characterizing the present state and development prospects with due regard of actual achievements, challenges, and problems. Materials and Methods. The work analyzes scholarly publications authored by associates of the Mongolian Studies Unit (Department of Korean and Mongolian Studies) and other departments of the Institute in 2010–2020, including operating archives ― through the use of historical, chronological, descriptive, analytical and other methods. Results. The study shows that despite a number of objective and subjective difficulties, associates of the Institute keep developing Mongolian studies exploring some topical and understudied issues of ancient, medieval, modern, and contemporary Mongolia; providing comprehensive insights into present-day political, socioeconomic, and cultural frameworks of Mongolia proper and Russia-Mongolia relations. Still, the Institute ― and specifically the Mongolian Studies Unit ― experiences a critical shortage of qualified young Mongolists, and if the problem remains unsolved respective research perspectives should encourage no optimism. The number of highly experienced Mongolists and Orientalists that conduct research activities on a range of Mongolia-related issues (history, historiography, source studies, discoveries and publications of new sources, written monuments and archives, philology, etc.) affiliated thereto is small enough. The former publish their scholarly works and actively cooperate with colleagues from similar scientific and educational organizations of Moscow, St. Petersburg, Irkutsk, Ulan-Ude, Elista, Kyzyl, Vladivostok and other Russian cities; establish relations with foreign humanities research centers of Mongolia, China, Japan, the United States, Great Britain, Germany, France, etc. Chronologically, the review covers the period between 2010 and 2020, and characterizes key changes in staff composition; shows fundamental research trends; summarizes outcomes of scholarly, organizational and publishing activities; mentions main joint and individual monographs authored (published) by associates of the Department of Korean and Mongolian Studies in 2010–2020. The paper specifies basic development problems faced by Mongolian studies in the context of Oriental studies as such, provides conclusions and prognoses for further evolution of this research line at the Institute of Oriental Studies (RAS).

Since 1945, most fascist monuments have disappeared or been deactivated in Western Europe. There is one in Spain, however, that remains fully operative: the Valley of the Fallen. The complex, devised by the dictator Francisco Franco, celebrates the Nationalist victory in the Spanish Civil War (1936–1939), keeps the bodies of thousands of victims of the conflict, as well as the leading fascist ideologue and the dictator himself, and provides a material narrative that exalts the dictatorship. With the advent of democracy in 1978, the Valley remained unchanged, untouchable, and an important focus for fascist and extreme right celebrations, both national and international. However, with the new progressive government that came to power in 2018, it has become the object of an ambitious program of resignification in which archaeology has an important role to play. In this article, I describe how archaeological work undertaken at the Valley of the Fallen is contributing toward destabilizing the dictatorial narrative by opposing the monumental assemblage of fascism to the subaltern assemblage of those who built it.

Dom Vicente Nogueira, then priest of Lisbon Cathedral, was accused, in 1633, of the crimes of paedophilia and sodomy. Under these circumstances, his private library was confiscated and, in 1634, taken to the Royal Alcázar of Madrid. In the 19th century, a copy of the catalogue of this confiscated library was found in the National Library of France. In this study, we speak about this collection which, by the quantity and selectivity of books, reveals itself to be, at that time, truly monumental.

This article examines the relationship between Francoism and the Portuguese Estado Novo in the context of state control of workers’ leisure time. The two Iberian Fascist dictatorships reacted to the international political isolation they were experiencing by seeking to strengthen their mutual ties during a period extending from the end of the Second World War until the mid-1950s. In the sphere of leisure, this was accomplished by means of two social tourism programmes: hosting workers from the neighbouring country in state holiday centres, and organizing trips in order to get to know the monuments and culture of the other country. These trips and vacations were used by the Franco Regime and the Estado Novo as a means of political and ideological indoctrination of workers. They were also intended to improve the perception of the national identity among the visitors, thus projecting a certain national image abroad.

Lietuvos nacionalinė Martyno Mažvydo bibliotekaGedimino pr. 51, LT-01504 Vilnius, LietuvaEl. paštas: viktorija.vait@gmail.comStraipsnyje nagrinėjami Lietuvos nacionalinės Martyno Mažvydo bibliotekos Retų knygų ir rankraščių skyriaus paleotipai: jų leidimo vieta, spaustuvininkai, tematika bei proveniencijos, dėmesį telkiant į retesnius, Lietuvos knygos kultūrai svarbesnius leidinius. Iš šiame skyriuje saugomų daugiau kaip 800 paleotipų analizuojama tik dalis jų, nes daugiau negu 200 knygų teturi kortelinį bibliografinį aprašą ir išsamiai juos ištirti šiuo metu neįmanoma. Dalies šių paleotipų analizė papildo jau esamus tyrimus, praplečia senosios knygos kultūros vaizdą.Reikšminiai žodžiai: knygotyra, paleotipai, retos knygos, spaustuvininkai, proveniencijos.THE COLLECTION OF POST-INCUNABULA IN THE MARTYNAS MAŽVYDAS NATIONAL LIBRARY OF LITHUANIAViktorija VAITKEVIČIŪTĖ AbstractPost-incunabula or the books printed in the first half of the 16th century (from January 1, 1501 to January 1, 1551), along with incunabula, are considered to be the oldest and most valuable publications in the world. Due to their likeness to incunabula and publishing specifics, post-incunabula are considered to be historical treasures and monuments of culture. The Rare Book and Manuscript Department of the National Library of Lithuania has in its holdings more than 800 post-incunabula, not including the ones kept at the Department of the National Archival Fund of Published Documents. The exact number is still unknown, since not all the books have been included into the electronic catalogue: more than 200 of them have only a card catalogue description and are awaiting a more detailed study. This article analyses specific features of part of the post-incunabula collection in the NLL Rare Book and Manuscript Department: their place of publication, publishers, thematics and provenances. Principal attention is accorded to the books that are rarer, more interesting and more important for Lithuania’s culture and book culture in general.The most of the post-incunabula kept in the Rare Book and Manuscript Department were published in Germany, many in Switzerland, France and Italy. There also is a small number of post-incunabula published in Poland (Cracow). Of the publications produced by Cracow’s printers, the article discusses those by Jan Haller (ca. 1467–1525), Hieronim Wietor (ca. 1480–1546) and Florian Ungler (d. 1536). It is necessary to mention Aldines – the publications by one of themost famous European printers, Aldo Manuzio (Lat. Aldus Manutius; ca. 1450–1515) and by his descendants. The article also touches upon the work of such acclaimed French publishers as Henri Estienne (lat. Henricus Stephanus, ca. 1460–1520), founder of the famous dinasty of printers, and the Lyonese printer Sébastien Gryphius (ca. 1493–1556). The Rare Book and Manuscript Department also keeps quite a few post-incunabula published by Johannes Frobenof Basel (1460–1537).As to the content aspect, the collection of post-incunabula in the department is versatile. For the most part, it is made up by religious literature: sermons, bibles, theological treatises, Church Fathers’ writings. There are many works by and commentaries on classical authors, of whom Cicero, at the time of the Renaissance viewed as the greatest authority on rhetoric, is the most famous one. The post-incunabula collection illuminates the emergence of the Reformations and the related spread of new ideas in the first half of the XVIth century. The Rare Book and Manuscript Department boasts a number of works by the founder of Protestantism, Martin Luther (1483–1546) and by the most acclaimed humanist of the times, Desiderius Erasmus (1469–1536).The provenances in the post-incunabula (manuscript inscriptions, stamps, bookplates) provide much interesting information. Most often found are ownership marks of the establishments that since the olden times had been preserving books: various monasteries, churches and priest seminaries,. The notable representative of the post-incunabulum culture is the Bernardine Order. According to the electronic catalogue, the Rare Book and Manuscript Departmenthas in its holdings 21 post-incunabula formerly kept by the library of the Tytuvėnai Bernardine Monastery. Most provenance inscriptions are from Kaunas Priest Seminary, the library of the Samogitian Priest Seminary, the library of the Vilnius Seminary and Kražiai College. Of the XIXth century personal libraries,particularly noteworthy are the collections of Jonas Krizostomas Gintila (1788–1857), XIXth-century bibliophile, hebraist and administrator of the Samogitian Diocese, and of Friedrich August Gotthold (1778–1858), educator and music theorist. A separate, rather abundant group of provenance inscriptions consists of the books that formerly belonged to Königsberg University. An in-depth study of all the post-incunabula kept in the NLL would significantly add to the existing research and broaden the understanding of old book culture.

Abstract Between 1870 and 1900 three commemorative events for Jules Michelet took place in France: his burial at the Père Lachaise cemetery in 1876, the unveiling of his monument in 1882 and the national commemoration of his centenary in 1898. The republican historian was thus a major figure in Third Republic memory culture, while he was also considered one of its sources of inspiration. This article examines how throughout successive commemorations Michelet’s legacy was appropriated and popularized by the regime and how this resulted in what can be called a ‘banalizing of memory’. Furthermore, it argues that this banalizing process, despite criticism based on Michelet’s own work, was productive and led to an expansion of the public’s awareness of Michelet. Rather than being a sign of declining memory, banality in some contexts was the most viable option for realizing the aims of a commemoration.

Today’s global processes foster the rapid internationalization and integration of educational systems of different countries. Globally-oriented strategies are spread all over Europe. They gradually “creep” into the state structures and set up new goals before the educational systems of developing countries. On the background of the ongoing internationalizing processes the question of the maintenance of national identity acquires an outstanding importance. State universities make an attempt to play a significant role in the solution of this problem. The given paper presents the latest pedagogical strategies implemented at the Faculty of Humanities of Ivane Javakhishvili Tbilisi State University. The major emphasis is put on the involvement of two ongoing projects into the university studies (“English-Georgian Encyclopedic Dictionary”, “The Georgian National Corpus”) and students’ participation in their further development. The given projects directly answer the demands of the modern epoch. On the one hand, they reveal western-oriented strategies via the introduction of the major concepts of today’s lingva franca. On the other hand, they serve as the tool of the maintenance of the national identity via the enrichment of the Georgian language and popularization of the Georgian literary monuments or manuscript sources among the foreigners. The strategies highlighted in the paper directly answer the following demand of the Council of Europe: “The rich heritage of diverse languages and cultures in Europe is a valuable common resource to be protected and developed”. Moreover, they can serve as an exemplary and useful model for those universities of developing countries, which strive towards the European integration and at the same time, facilitate the maintenance of the national identity.

« Ce livre est un livre d'histoire » (c'est la phrase d'attaque de l'ouvrage), mais un livre d'histoire sur la litérature. Comme ne l'indique pas le titre, le travail est consacré à un moment particulier, qu'on pourrait nommer le « moment Richelieu », une epoque decisive dans la constitution de la litterature comme monument imaginaire qui a models la conscience collective des Français (y compris ceux qui n'appartenaient pas aux « élites ») lors d'un autre moment, le moment républicain entre les années 1880 et les années 1970. La «littérature » est en effet une création herméneutique permanente. Si Ton considérait en dehors de tout prisme national identitaire les écrits qui ont été produits lors de la mise en place de la « monarchic absolue » en France, la hiérarchic canonique des « æuvres » s'en trouverait sans doute bouleversée. Le rapport qu'entretenaient les Français à leur identité a profondément changé entre les années 1620, quand était portée aux nues une soi-disant monocratie, et l'époque républicaine qui se présentait comme démocratique.

Among the modern researchers conducting studies on the 18th century, there is a widespread belief that research on Polish theatre of that era did not develop until the turn of the 1950s and 1960s. It is only part of the truth. The apogee of theatrical research coincided with those years, resulting from the 200th anniversary of the National Theatre, which was widely promoted by the authorities. However, the first diagnoses of Polish theatre scientists dealing with the 18th century are much earlier. Suffice it to recall Ludwik Bernacki’s monumental work, “Theatre, Drama and Music under Stanislaw August”, which the researcher published in Lviv in 1925. Bernacki’s research was closely related to the work of French theatre scientists, who conducted research on the scene and drama of the 18th century before the First World War. This article analyses and chronologically presents the last century of theatrical research and its methodological changes on the example of Polish and French history of 18th-century theatre.

The article examines the responses to the death of singer Johnny Hallyday in December 2017, developing the analysis undertaken in my earlier article (Looseley, 2005). Hallyday’s passing and the astonishing expressions of grief and loss it generated brought to the fore the monumental importance he had assumed in French public life and public discourse at the close of his 60-year career. Despite his having initially been condemned or lampooned as a Trojan horse of Americanisation, by the end he was applauded for having enriched French cultural identity with American popular-cultural influences and yet maintained an essential, canny Frenchness. In this context, his public status and meanings are underpinned throughout by the problematic issue of authenticity, both musical and national. They also shed new light on the perennial cultural debate in France between particularism and universalism.

The History of the Life of John, Abbot of the Monastery of Gorze (Hystoria de vita domni Iohannis Gorzie coenobii abbatis) is one of the most important and yet enigmatic saints’ lives from the tenth century. Written in the decades around 1000 by a monk named John of St. Arnulf, this unusual work of hagiography was by no means a best-seller. It survives in a single manuscript (Paris, Bibliothèque nationale de France, Latin 13766) and seems to be incomplete, as the text breaks off rather abruptly and includes no account of John’s abbacy or his death. Even so, it has attracted considerable interest from monastic historians. Jean Mabillon first edited the History in 1685; <?page nr="368"?>Georg Heinrich Pertz created the first modern edition for the Monumenta Germaniae Historia series in 1841; and Michel Parisse made the text even more accessible in 1999 by publishing a slightly improved Latin text and rendering it into French, the first translation of the History into any modern language.

The article explores the phenomenon of the architecture style transformation with a radical change in the natural environment. By the example of two pairs of objects of the same style – objects of Northern National Romanticism in Finland and China and objects of the “Moscow pattern work” in Russia and France, the non-identity of the their architecture perception is argued with the general preservation of the defining signs of style – severe stone forms of northern national romanticism in dense Helsinki's urban development is perceived differently than similar forms of northern national romanticism among the exotic greenery of the coastal city of Qingdao, just as finely detailed forms of the Moscow Orthodox churches are perceived differently than similar forms among the palms of Nice. Another aspect is associated with a change in the ideological perception of the style of architecture when it is transferred to the territory of another country. Thus, Northern National Romanticism was perceived by Finland and the Baltic countries as the style of their national identity, therefore, it clearly expressed those elements and plots that just expressed the national identity of the countries under the rule of the Russian Empire. The same style, embodied in the representative buildings of Qingdao, primarily the governor's residence, expressed a different ideology: Qingdao was the military base of the navy, therefore Northern National Romanticism in this case expressed the nationality and dominance of Germany. At the same time, as you move away from the center of origin, each style invariably transforms as a result of multiple local layers, therefore, with all the grandeur of the appearance of the residence, it does not look as monumental as similar buildings in Finland or the Baltic countries due to the influence of Chinese traditions in polychrome and decor and placement in a different natural environment.

The semantron (“toaca” in Romanian language), the oldest musical instrument being in use since Neolithic and documented 4000 years ago, has entered in the Christian Church during the first centuries A.D., surviving in the Orthodox Church until today. In the Romanian History, the semantron is clearly attested since 17 century. About the semantron are preserved many myths, the most important being the stories related to Noah, the Patriarch, who has used it during the building of the Ark, as a powerful remedy for chasing away the Devil who has repeatedly destroyed the vessel. This particular tale is depicted also on a unique 1806’s fresco preserved on Bârsana-Jbâr (Maramureş, Romania) wooden church’s walls. There are three types of classic semantrons: fixed, movable and metallic ones, but the paper presents also the sophisticated semantrons from Rouen Cathedral (France), built in the year 1571 and restored recently, respectively the complex instruments from Matyijovo respectively Pidvinohragyiv villages of Transcarpathia (Ukraine), photographed in the 1920’s. Both last examples have the same operating principle: a horizontal axe equipped with paddles, is twisted with the crank, seting in motion several upstanding mallets, which are strucking the wooden plank. The most special semantron is actually the one from Strâmtura (Maramureş, Romania), identified recently by the author in the village wooden church’s attic: on the horizontal axe is rooted a round disk provided with six mobile round mallets which, when the crank is twisted, are strucking the wooden board positioned bellow the assembly. This absolutely singular semantron, remembering the solar disk, whose age and source of inspiration remain unknown (perhaps it was influenced by the simple or even by the astronomical church clocks), it deserves to be restored and preserved in the original place where it was found: the 17 century wooden church from Strâmtura, a valuable National Historic Monument.

This paper is dedicated to the digitization of blocks and virtual anastylosis of an antique façade in Pont-Sainte-Maxence (France). In 2014 during the construction of a shopping center, the National Institute for Preventive Archaeological Research (INRAP) discovered a Gallo-Roman site from the 2^nd century AD. The most interesting part of the site for the study is a façade of 70 meters long by nearly 10 meters high. The state of the conservation of the blocks of the façade makes them exceptional due to the question raised by the collapse. Representative and symbolic blocks of this building have been selected for a virtual anastylosis study. The blocks discovered belong to different types: decorated architectural blocks, monumental statuary elements and details of very fine decorations. The digital reproduction of the façade will facilitate the formulation of hypothesis for the collapse of the structure. The Photogrammetry and Geomatics Group from INSA Strasbourg is in charge of the digitization, the anastylosis and the development of exploratory methods for understanding the ruin of the façade. To develop the three-dimensional model of the facade, approximately 70 blocks of various dimensions were chosen by the archaeologists. The choice of the digitization technique is made according to the following pragmatic criterion: the movable objects are acquired with a scan-arm or a hand-held scanner in the laboratory and the largest blocks are recorded by photogrammetry at the repository near Paris. The expected types of deliverables are multiple: very accurate 3D models with the most faithful representation to document the objects in the best way and with optimized size model allowing easy handling during anastylosis tests. The visual aspect of the models is also a very important issue. Indeed, textures from photos are an excellent way to bring about the realism of the virtual model, but fine details of the object are sometimes blurred by the uniformity of the color of the original material. Acquisition by hand-held scanner does not provide the textures (they must be acquired according to a complementary process). The data types are therefore different depending on the acquisition. The type of rendering of the models depends therefore on precise choices to be defined optimally. After the acquisition, hypothesis for the construction of the façade must be validated and / or adapted by the anastylosis of the digitized blocks. Different cases must be taken into account. First, the reconstruction of broken blocks is done by adjusting the recovered fragments. If all the fragments discovered are close to the initial shape of the block, the process is assimilated to a puzzle of complex surfaces. If the fragments have no contact but are an integral part of the block, the proportion of hypotheses in relation to the contact pieces is changed. And finally, if the blocks are to be assembled together by superposition and thanks to a common plan, as assumed during the construction, the restitution could be based on the positions of discoveries and hypotheses based on the architectural knowledge of this period. Each of these three methods of reconstruction involves different processes. The three-dimensional model will be validated by the positioning of the blocks and extended according to the actual dimensions of the façade. Different collapse scenarios will result from this study.

Dhe diku, në një cep të tavolinës së punës së albanologut, disa fletë të përkthimit në frëngjisht të pjesës shtesë të Shkëlqimi dhe rënia e shokut Zylo të sapodërguar në shtëpinë botuese franceze duket se mezi ç’presin të renditen në dosjen e romanit të plotësuar tashmë edhe në frëngjisht; heshturazi, ato fletë të shkruara dëshmojnë përmbushjen e premtimit nga ana e albanologut; pranë tyre një fletore, me një medaljon me portretin e Dritëroit në kopertinë, dërguar në këtë fundnëntor nga vajza e Dritëroit, si shenjë mirënjohjeje e përmallimi ndaj albanologut; … dhe pranë saj, edhe një gotë e mbushur përgjysmë me raki mani të Boboshticës duket se pret të trokitet sërish mes dy miqve, si dikur kur diskutonin për histori e letërsi, zakone e tradita të atij populli që Dritëroi i përkiste dhe i këndonte, e ndaj të cilave albanologu mbeti i tërhequr gjithë jetën e u mundua t’ia dhurojë e bëjë të ditur edhe francezëve në gjuhën e tyre; e në cepin tjetër të tavolinës së punës, i hapur në një faqe nga fundi, Kanuni i Lekë Dukagjinit, të cilin albanologu e solli në frëngjisht, me durimin e këmbënguljen e atij që imtësitë i kushtojnë më shumë se e tëra, një punë pothuaj pesëmbëdhjetë vjeçare. Diçka i ka ardhur në mendje në këto ditë të ligështimit të skajshëm trupor dhe ka dashur ta verifikojë; ndoshta ende një imtësi për të drejtën zakonore shqiptare për të cilën ka vite që studion e shkruan. Dhe aty përballë, pranë dëshmive të shumta të vlerësimit të punës së tij nga shteti francez, pranë titujve e dekoratave Kalorës i Urdhërit Kombëtar të Legjionit të Nderit (Chevalier de l’Ordre national de la Légion d’honneur), Kalorës i Urdhërit Kombëtar të Meritës (Chevalier de l’Ordre national du Mérite), Oficer i Arteve dhe Letrave (Officier des Arts et des Lettres), ja dhe dëshmitë si Anëtar i jashtëm i Akademisë së Shkencave dhe Arteve të Kosovës, Profesor i jashtëzakonshëm i Universitetit «Aleksandër Xhuvani» të Elbasanit, Doktor Honoris Causa i Universitetit të Tiranës, Qytetar nderi i qytetit të Elbasanit. Është aty në studion e tij mes mijëra librash, madje të tillë edhe qindravjeçarë; diku në rafte, mes librave tejet të vjetër në formë dorëshkrimesh, ka edhe librin e parë të Gutenbergut; por në ditët e ligshtisë së madhe trupore, kënaqësinë e gjen te pasioni e dashuria për kulturën e popullit të vogël shqiptar; popull i vogël, por që diti të ketë monumente të mëdha; ndaj edhe në ato ditë të fundme lexon etshëm e shkruan me dorën e lodhur për atë histori, sikur kërkon të bartë sa më shumë informacion me vete në udhëtimin astral të cilin e pret gjakftohtë dhe me shpërfillje, për të qenë atje, “përtej” përgjithnjë me këtë dashuri të jetës. Dhe duket se i tillë udhëtoi shpirti i tij më 26 nëntor 2018, kur albanologu Kristian Gyt ndërroi jetë.

Dhe diku, në një cep të tavolinës së punës së albanologut, disa fletë të përkthimit në frëngjisht të pjesës shtesë të Shkëlqimi dhe rënia e shokut Zylo të sapodërguar në shtëpinë botuese franceze duket se mezi ç’presin të renditen në dosjen e romanit të plotësuar tashmë edhe në frëngjisht; heshturazi, ato fletë të shkruara dëshmojnë përmbushjen e premtimit nga ana e albanologut; pranë tyre një fletore, me një medaljon me portretin e Dritëroit në kopertinë, dërguar në këtë fundnëntor nga vajza e Dritëroit, si shenjë mirënjohjeje e përmallimi ndaj albanologut; … dhe pranë saj, edhe një gotë e mbushur përgjysmë me raki mani të Boboshticës duket se pret të trokitet sërish mes dy miqve, si dikur kur diskutonin për histori e letërsi, zakone e tradita të atij populli që Dritëroi i përkiste dhe i këndonte, e ndaj të cilave albanologu mbeti i tërhequr gjithë jetën e u mundua t’ia dhurojë e bëjë të ditur edhe francezëve në gjuhën e tyre; e në cepin tjetër të tavolinës së punës, i hapur në një faqe nga fundi, Kanuni i Lekë Dukagjinit, të cilin albanologu e solli në frëngjisht, me durimin e këmbënguljen e atij që imtësitë i kushtojnë më shumë se e tëra, një punë pothuaj pesëmbëdhjetë vjeçare. Diçka i ka ardhur në mendje në këto ditë të ligështimit të skajshëm trupor dhe ka dashur ta verifikojë; ndoshta ende një imtësi për të drejtën zakonore shqiptare për të cilën ka vite që studion e shkruan. Dhe aty përballë, pranë dëshmive të shumta të vlerësimit të punës së tij nga shteti francez, pranë titujve e dekoratave Kalorës i Urdhërit Kombëtar të Legjionit të Nderit (Chevalier de l’Ordre national de la Légion d’honneur), Kalorës i Urdhërit Kombëtar të Meritës (Chevalier de l’Ordre national du Mérite), Oficer i Arteve dhe Letrave (Officier des Arts et des Lettres), ja dhe dëshmitë si Anëtar i jashtëm i Akademisë së Shkencave dhe Arteve të Kosovës, Profesor i jashtëzakonshëm i Universitetit «Aleksandër Xhuvani» të Elbasanit, Doktor Honoris Causa i Universitetit të Tiranës, Qytetar nderi i qytetit të Elbasanit. Është aty në studion e tij mes mijëra librash, madje të tillë edhe qindravjeçarë; diku në rafte, mes librave tejet të vjetër në formë dorëshkrimesh, ka edhe librin e parë të Gutenbergut; por në ditët e ligshtisë së madhe trupore, kënaqësinë e gjen te pasioni e dashuria për kulturën e popullit të vogël shqiptar; popull i vogël, por që diti të ketë monumente të mëdha; ndaj edhe në ato ditë të fundme lexon etshëm e shkruan me dorën e lodhur për atë histori, sikur kërkon të bartë sa më shumë informacion me vete në udhëtimin astral të cilin e pret gjakftohtë dhe me shpërfillje, për të qenë atje, “përtej” përgjithnjë me këtë dashuri të jetës. Dhe duket se i tillë udhëtoi shpirti i tij më 26 nëntor 2018, kur albanologu Kristian Gyt ndërroi jetë.

Dear readers, We are pleased to present to you Issue 2, 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The issue opens with the article "NON-Realism of Alexander Burganov" by I.Sedova. The author believes that modern Russian sculpture, at its best, has long since moved away from direct depiction and has learned to speak about painful issues exclusively in the language of plastic arts. In this regard, the author naturally raises the question - what is the "realism in sculpture" concept today? In the process of analysing the plastic techniques of A.Burganov, the author managed to identify several patterns, including the principle of "opposition": realistic images, being in opposition to each other, begin to form the world of symbolism and surrealism. Summing up her research, the author introduces a new term, "symbolic realism", into scientific circulation. Fang Zhiyu studies the specificity of modern Chinese sculpture in the article "Traditions and Innovations in Modern Chinese Sculpture". The author believes that two directions are clearly visible in the creative work of modern Chinese sculptors. The first direction basically follows the creative method of sculptors who studied in France before the formation of the People's Republic of China; the second direction is based on traditional Chinese culture. In the formation of the modern plastic language of Chinese sculpture, both directions mutually enrich each other. In the article “On Two Viewpoints on the Dramaturgical Conflict Structure: from Hegel’s Aesthetics to the Identity of the Formalists”, V.Kolotaev analyses the nature of the dramaturgical conflict in Russian humanitarian knowledge, which occurred under the influence of aesthetic ideas about beauty, harmony, the sublime, the ideal, formulated by Hegel in Lectures on Aesthetics. The author believes that in line with classical ideas, the conflict was understood as a necessary condition for maintaining the compositional unity of the work and the development of the action. It led to the final equilibrium state of all its elements after the separation of the participants in the collision to the maximum distance. In addition to the aesthetic understanding of the conflict as the basis of the harmonic organisation of the text, the author analysed the idea of conflict as the primary condition for the development of all systems. Ding Liang continues the topic of dialogue in the space of culture between national tradition and world trends in the development of art. In the article “Analysis of Creative Education in Ceramics and Student Creativity in Colleges and Universities in China”, the author rightly argues that Chinese education and global arts education are closely related to each other in the face of the globalisation of culture and economy. A number of texts are devoted to the issues of musical culture. In the article "On the First Graduation of Vocalists of the Saratov Alekseyev Conservatory", A.Rudyakova recreates a picture of the early period of the Saratov Alekseyev Conservatory, founded in 1912, based on rare unpublished sources. In the article "Alexander Ryndin's 104 Psalm: the Problem of the Expression of Author's Will Within the Canon", I.Mertseva studies the problem of secularisation, which the traditional genres of Orthodox worship are exposed to, in connection with the renewal of the means of musical expressiveness of choral music. Biographical information about the composer and facts explaining the address to the composition on canonical liturgical texts are introduced into scientific use. The author uses an interdisciplinary approach typical of liturgical musicology, combining musicological analysis and interpretation of the liturgical text in the traditions of Russian liturgy. Also, the article provides an overview of the methods by which it is possible to study original works on canonical liturgical texts. In the article "Heraldic Motifs in Family Stained-glass Windows of the 16th Century of the von Disbach Family", D.Platonov considers the study and attribution of heraldic stained-glass windows of the Swiss Union of the 16th century, when the art of stained glass was in its heyday. The author notes that by this time, the formation of a new social class, the burghers, was completed and the rich families were able to have their own family coat of arms thanks to the special historical conditions of the Old Confederation development. Based on sources in the form of surviving armorials and official documents of the period under study, the author investigates the rules for the creation of heraldry, the artistic image, and the specifics of stained glass technology. In the article “Zaha Hadid in the United Arab Emirates. An Architect Ahead of Time”, J.Smolenkova considers the architect’s buildings from the point of view of innovative technologies, features of the artistic image and plastic design. Along with articles, this issue of the journal presents K.Lopatkina’s scientific review of the book “The Moscow Union of Artists. A Perspective from the 21st Century. Book Two” by B.Ioganson (Moscow: Booksmart, 2021). The reviewer believes that one of the essential tasks that the author of this monumental work solves is the need to demonstrate and prove that the Moscow Union of Artists was very different primarily because it included various artists. For the researcher, “the presence of a unique experience accumulated in the course of the life of this multifaceted and well-coordinated organism that regulates the artistic life of Moscow and spreads its influence far beyond the capital” comes to the fore. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.

Ramps and scaffoldsThe lifting of large stones during antiquityUntil well into the 18th century, many scholars thought that megaliths were erected by giants. Less supernatural theories did not occur in print until the 19th century. One of these was expressed in a small pamphlet from 1857, “On the Building Manner of the Passage Graves of the Antiquity”, written by the Danish King Frederik the Seventh. Earlier (1853), the king had been convinced that first the capstones had been placed on a mound and then the uprights had been placed in holes dug out under the capstone (fig. 7). When all uprights were in place, the remaining earth was removed. This so-called mound theory is almost completely forgotten, but it surfaced sporadically in the 20th century, last when J. Osenton was reconstructing dolmens in the Cotswold Hill Quarry by Cheltenham in England in 1996-97.In 1857, Frederik the Seventh put forward the ramp theory, according to which the capstone is pulled up on a ramp to the already finished chamber (fig. 7-8). According to Frederik the Seventh’s proposal, the ramp was built from earth lengthwise covered with timber, on top of which the capstone would have been pulled up on rolls.However, the king had not invented this theory. It was known in Scandinavia and Holland already around 1800. In 1815, N. Westendorf in Holland suggested the use of earth ramps, and the following years the Dutch developed the ramp theory further.Both the early Dutch antiquarians and others referred to the fact that from the 16th to the 19th century (after the Spanish conquest), Inca workers in Peru, when erecting large buildings, used earth ramps for pulling large stones in place. During their golden age (1300-l500 AD), the Incas were masters in building with large stones that weighed up to well over 200 metric tons. Perhaps the know ledge of Inca earth ramps inspired the early European antiquarians to suggest that the megaliths had also been pulled in place by the use of ramps.In 1983, an experiment was carried out in Skånes Djurpark (Scania’s Animal Park) under G. Burenhuldt’s supervision: the building of a long barrow. The capstone was mounted on a wooden sledge and pulled in place using a rope and a 16-m long earth ramp covered with timber lengthwise (fig. 9). The gradient of the ramp was 5 degrees. It took fourteen men a mere twelve seconds to pull op the capstone.In Indonesia, the use of wooden ramps for pulling up grave capstones is well known. Such a situation was docu mented in 1910, when four hundred people pulled the stone in place without the use of rolls (fig. 10-11). In Holland, postholes suggesting the use of a similar method have been found in connection with some megalith graves (fig. 12).When using the scaffold method, one end of the stone is lifted using one or more levers while timber is being pushed under the stone. Then the other end is lifted and timber pushed underneath. The stone is then lifted again, and timber is pushed under in the opposite direction of the previous layer of timber – and so forth, until the stone has reached the planned height (fig. 13-14). The stone is lifted up on a steadily growing scaffold, so to speak. When the lever is high up, ropes are attached to it for pulling. This method was used in Denmark during the 19th century, when the National Museum was placing capstones that had fallen from their original position back onto the megalith graves. In 1897, the Danish archaeologist Sophus Müller suggested that the capstones of the megalith graves had origin ally been positioned in this way. In 1979, J.P. Mohen initiated an experiment in Bougon, France, involving the lifting of a 32-tons copy of a capstone (fig. 15).The lifting was carried out using three levers, each operated by twenty men. By pushing timber under the stone, it was easily lifted one meter. During the same experiment, twenty men easily lifted the stone using a single lever. In 1994, in Ramioul in Belgium, the scaffold method was also used for placing a capston e on a newly built alleé couverte. In Cotswold’s Hill Quarry, England, J. Osenton built three dolmens in 1996-97. A five-ton capstone was lifted one meter by two persons, one using a 3.5-meter long lever, the other pushing timber underneath.Levers are thus very effective, as heavy loads may be lifted using small effort. According to the lever principle, Kl x L1 = K2 x L2, where L1 and L2 are the long and short arm (divided by the fulcrum) respectively, Kl is the force used for pulling, and K2 is the force, which in combination with L2 has an effect on the stone itself. If using a completely regular stone, like an over-sized brick, it will be merely half of the stone’s weight that is lifted, as its edge is resting on the support. However, as the stones are usually irregular, the lifted weight in the following calculations is estimated to be 60% of the total weight.At Cotswold Hill Quarry, the relation between effort and load was 1:100, hence, one man had to pull with a mere power of 30 kg in order to lift the heavy stone. At Bou­gon, each of the 60 persons had to pull with a force of 32 kilos, if the relation was 1:10, in order to lift the 32-tons block. A capstone in the Spanish passage grave Cueva de Menga weighs 180 metric tons. It could be lifted by 72 men each pulling 50 kg, if the relation was 1:30.It appears that capstones may be easily lifted using a scaffold. When the stones reached the level of the top of the uprights, they could be pulled in over the chamber. At the experiment at Ramioul, Poissonier and Collin used a method in spired by the transportation of stones in a quarry. In the ends of the round timber just under the stone were drilled holes, in which sticks were placed. When the sticks were turned, the stones could be rolled in position over the chamber (fig. 16 ). The use of Stone’s A-frame, which will be mentioned later, would have been very effective indeed, even when very large stones had to be moved from the scaffold onto the chamber.At Stonehenge, the large sarsen stones were erected 2400 BC towards the end of the late Stone Age (fig. 17). The lintels of the large circle weigh approximately seven tons and are positioned at 4.3 meters above the earth. In the middle of the circle is the “horse shoe” consisting of five thrilitons (a thriliton is a pair of uprights carrying a lintel). These lintels weigh up to 16.5 metric tons and are raised seven meters above ground level.In 1924, the engineer E.H. Stone suggested that the lintels had been pulled up an earth ramp that had been so large that it had a platform on top. Here the final adjustment of the lintel could take place using levers.In 1935, another – simpler – technique, the scaffold method, was suggested by colonel R.H. Cunnington. The engineer C.A. Gauld later developed his idea further. He advocated the use of a rather complicated scaffold, which completely surrounded the uprights (fig. 19).In 1991, the engineer P. Pavel carried out an experiment by Strakonice in the Czech Republic (fig. 20). A copy of two uprights in the Stonehenge circle had been erected, and a lintel was to be put in position. The height was 3.5 meters, and the lintel weighed five metric tons. The procedure was surprisingly simple. Using levers and ropes, the stone was pulled up a ramp made from two heavy stems. The pulling was done in 30-cm tugs, and behind the lintel was a“brake rod”, which was moved along to prevent th e stone from sliding down. The levers were of spruce, 4.5 m long and 25 cm in diameter. The ropes were 3 cm thick. The stone was pulled up in three days by ten men.In 1994, M. Whitby was carryin g out experiments near Stonehenge. They included the placin g of lintels using both ramp and scaffold. For this purpose, concrete copies of two uprights and a lintel had been made. The lintel weighed ten metric tons and had to be lifted seven meters. First, it was lifted using the scaffold method. As this went easily, and it was obvious that it could be easily lifted in place, the experiment was called off The scaffold was a simple one, which did not surround the uprights. The lintel was pulled up a metal ramp, which served as an earth ramp. On the surface, the ramp had three tracks of timber lengthwise, and 90 people pulled up the stone in three ho urs. T he pu llin g was don e usin g an A-frame, which works as anupright lever (fig. 21). E.H. Stone had suggested this method in 1924 when the uprights were erected (fig. 22). Whitby’s experiment had the special point that the timber on the ramp surface was separated at the top, so that it would tip with the stone when it reached the top.One or the other? A ramp or a scaffold? The huge disadvantage of the earth ramp is that it would have taken a very long time to both build it and remove it. It would be faster and easier to use Pavel’s wooden ramp, strengthened and supported by timber and then pull up the stone either using Pavel’s method or an A-frame. Finally, there is the scaffold method, which Whitby and Richards found very rewarding. However, this method seems too simple and undramatic as opposed to the ramps. At any rate, many scholars have become obsessed by the ramps and will not consider the scaffold as an alternative. The theories of how Egypt’s large pyramids were erected are a fine example of this.The Great Pyramid was build for the Pharaoh Cheops, who died around 2580 BC. It is an impressive monument, which was originally 146.5 meters high, with each side measuring 230 meters. It was built from 2.300.000 box-shaped stones, each weighing approximately 2.5 metric tons or less.How the Egyptian pyramids were built is still a matter of speculation. The many suggested methods can be divided into two groups: ramps or gradual raising using levers (the scaffold method). The ramp method is preferred by most, but the shape of the ramps remains a mystery (fig. 23). Ramps have been found next to some very small and unfinished pyramids, but they were less than seven meters high. These ramps were made from limestone rubble, sand, gypsum, and clay. It seems obvious that ramps may have been used for the building of small pyramids and for the lower parts of larger pyramids. However, in the case of the great pyramids, the ramps would gradually become very steep and very long, or both, when the pyramid rose upwards.In his book, “The Complete Pyramids” (1997), Mark Lehner, one of the leading pyramid scholars, strongly advocates the ramp theory. In 1996, he took part in the building of a 6-m high pyramid “to test some of the current theories of armchair pyramid builders and try out ancient theories”. The small pyramid was built using a ramp. The scaffold method was also tested for the raising of a stone weighing two metric tons. The experiment was unsuccessful and therefore dismissed. However, elementary mistakes were made, as for instance using boards stacked in layers as a substitute for heavy timber.In spite of this, there are in fact numerous advantages of lifting the stones step by step. For instance,several teams can work simultaneously on each step; the distance is shorter; there is no long return with an empty sledge; and huge ramps do not have to be built and removed again .When Herodotus visited The Great Pyramid around 440 BC, he was told that it had been built by lifting the stones step- by-step using special devices (mechania). This information was omitted in “The Complete Pyramids”.The method used for building a large pyramid could have been a combination of the two techniques. Ramps were used at first, until they became too large or steep or both, then stones were lifted step- by-step using levers. This change may well have taken place at a height of 50 meters, when 72% of the stone mass was already in place. Also, the use of ramps and scaffolds does not have to be an either/or. Perhaps both methods were used.The heavy bluestones at Stonehenge, each weighing between 3 and 4 metric tons, were quarried in antiquity in the Preseli Mountains in Wales. The 80 bluestones were transported more than 350 km across land and water. In 2000, a group of volunteers wanted to repeat this great achievement of the past by transporting a 3-ton stone along the same route. The project, called The Millenium Stone, was a total failure and had to be given up. The participants met too many obstacles on the way and had to use modern techniques; the stone was transported far shorter distances a day than expected; a crane had to be used for lifting the stone on to a vessel, which later sank in 17 meters of water. One important reason for the poor out come was not just the lack of technical skills, but also lack of planning, expertise, and motivation among the participants. These factors are indeed the prerequi site for a successful implementation, in the past as well as now.The experiments at Bougon, Cotswold, and Strakonice showed that a few people were able to lift the stones. However, in the antiquity this would have taken place at community events, which gathered huge crowds. This was certainly the case when dolmens were built in Indonesia in modern time. Here, the presence of many people gave prestige to the organizers, who in return demonstrated their wealth and hospitality by throwing large parties where the guests were lavishly entertained. For both organizers and participants these occasions offered the possibility of making or renewing agreements and alliances.One of the many reasons behind the erection of the megalith graves was its stabilizing effect on society. The megalith builders would have been highly motivated and very determined, as the balance of their social and spiritual universe depended on a successful completion of the work with the huge stones. The muscle power of hundreds of men is not enough; it also takes a foreman with ingenuity, coordination and determination (fig. 24). The foremen of the English archaeologist, C.L. Woolley, were good at moving large stones. Once, Woolley showed his foreman, the Arab Hamoudi, the large stone, measuring 21.5 x 4.3 x 4.2 meters, which during the first century AD was placed at seven meter’s height in the wall of Acropolis in Baalbek in Syria. “He sat in silence, looking at it for perhaps twenty minutes, and then rose to his feet.‘I must go away,᾿ he said,‘my head aches᾿; and as he went, I heard him murmur: ‘By Allah, what a foreman!᾽”In this context, Woolley mentions that at his time (1953), such a stone could not be lifted that high by machines, but that the people of the antiquity were able to do it because they lacked machines!Palle EriksenRingkøbing MuseumTranslated by Annette Lerche Trolle

AbstractThe local and extra-regional (national and transnational) stones mainly used as building and ornamental materials in the historic centre of Urbino (UNESCO World Heritage List) were unravelled through a detailed geological and petrographic study. The types of building stones used in the past for the development of an urban centre were mostly affected by the availability of suitable geomaterials in the surrounding areas. For this reason, the stones found in the historical buildings of Urbino generally come from the local sedimentary formations (mostly limestones) belonging to the Umbria–Marche–Romagna Succession Auct., which crops out in the Northern Marche Apennines. Only some ornamental highly prized stones used for monuments and decorations come from both extra-regional Italian areas (Alps, other sectors of the Northern Apennines) and foreign countries (France, Egypt). A brief description of the Northern Marche geology was also reported to exactly match the local provenance of the stones, so highlighting the relationship between the territory and the architecture of Urbino. Because of obvious conservation reasons, no samples were collected from buildings or monuments and only autoptic observations, together with a detailed historical and bibliographic research, were carried out to identify the different materials and the provenance areas. Besides the availability of the local sedimentary rocks, we emphasised how the choice of the building and ornamental stones could have been also influenced by the historic period and artistic style, aesthetic features, economic and social importance of the building and/or monument and the relationship to some distinguished personality (e.g., Pope Clemente XI). An open-air stone itinerary across significant places (10 stops and additional sites and monuments in the urban area) is finally proposed for the best fruition of the geological and cultural heritage of Urbino, also aimed at geotourism development.

<p>Thousands of Wing-Shot Migratory Birds. Soldier Graves and Danish-French Places of Remembrance Approx. 1915-1925</p><p><br />During the months following the end of the First World War in November 1918, some 100,000 prisoners of war passed through Denmark on their way home from the camps on the Eastern Front. Some did not make it all the way, but died from exhaustion and the Spanish flu during their stay in Denmark. The present article deals with the part that these dead soldiers came to play in the formation of a remembrance culture in a country which had not itself taken part in the war. More specifically, it deals with the monuments which a small group of nationally-conservative men and women with ties to the armed forces and the social elite erected between 1919 and 1925 in remembrance of the dead French soldiers. To their minds, France had been the sole serious ally in the struggle for the return of North Schleswig to Denmark. For that reason, they were also behind two monuments in France to commemorate the fallen Danish-minded Schleswigers and the fallen Danes of the French Foreign Legion. Their national-conservative engagement<br />and criticism of the policy of neutrality pursued during the war by the Danish government largely determined the creation and the form of the cemeteries.</p>

The following paper traces the origins and increased interest in the cultural heritage of Georgia on behalf of the local intelligentsia in the 19th century. After describing the circumstances that may have led the new generation of Georgian scholars to a systematic exploration of ancient remains in the Caucasus and medieval ecclesiastical monuments and treasuries, the paper will focus on the main archaeologists of Christian antiquity in Georgia, Dimitri Bakradze and Ekvtime Taqaishvili. Finally, the study outlines the creation of what has been called the Georgian National Treasure. The treasure items, collected from monasteries and settlements all over Georgia and protected from robberies and impetuous art collectors, were sent into exile in 1921, shortly before the short-lived Georgian Democratic Republic’s annexation to the Soviet Union. The thirty-nine boxes, containing manuscripts, icons, precious liturgical vessels and other priceless items, were sent from Batumi to Marseille, via Istanbul, and stored in France until 1945, when Ekvtime Taqaishvili, who had taken care of and protected them over those 24 years, accompanied them back to Tbilisi.

Il saggio analizza le due differenti sepolture di Francisco Franco: quella del 1975 e quella del 2019. Entrambe simboleggiano significati politici e rappresentano momenti fondamentali della storia recente della Spagna, impegnata nel tortuoso processo di transizione alla democrazia. Il trattamento del corpo del leader registra due passaggi simbolici di grande rilievo. Nella prima cerimonia funebre, il Caudillo era collocato nel significativo monumento del Valle de los Caídos assieme ai caduti della guerra civile del 1936. Nella seconda, il dittatore ne veniva espulso e consegnato a una località minore, privata e pressoché segreta. Fra le due sepolture si svolgeva un complesso riposizionamento della classe dirigente del Paese e della rielaborazione della memoria nazionale. The essay analyzes the two different burials of Francisco Franco: that of 1975 and that of 2019. Both symbolize political meanings and represent fundamental moments in the recent history of Spain, engaged in the tortuous process of transition to democracy. The treatment of the leader’s body records two symbolic passages of great importance. In the first funeral ceremony, the Caudillo was placed in the significant monument of the Valle de los Caídos together with the fallen of the civil war of 1936. In the second, the dictator was expelled and delivered to a smaller, private, and almost secret location. Between the two burials, there was a complex repositioning of the country’s ruling class and the reworking of the national memory.

The assassination of the King of Yugoslavia, Alexander Ist by Croatian terrorists during a state visit to Marseilles on 9 October 1934 is commemorated by a modest plaque on the Canebière and a little known monument outside the Préfecture. Although the histories of the period cite the event in passing, it is treated as a footnote in the political history of France and has been all but erased from the memory of the city. While there are good reasons for forgetting the episode – regicide does no favours for the reputation of a host nation or city and the French Foreign Minister Louis Barthou was accidentally shot by the French police – the double killing had multiple ramifications for France's interior and foreign affairs during the rise of fascism in Europe. It advanced the career of future Vichy Prime Minister Pierre Laval, who replaced Barthou as Foreign Minister, while French efforts to contain the threat of German expansionism by forging alliances with the Central European powers died with Barthou; King Alexander Ist's successor moved Yugoslavia into the camp of the Axis powers. Geopolitically, the system of collective security forged at Versailles collapsed in the wake the assassination. The incident in Marseilles highlights political tensions in France in the troubled inter-war years leading up to the emergence of the Front Populaire. It reveals the memorial agencies of core and periphery engaged in a struggle over the rights to remembrance. Above all, it poses the problem of the preservation of peripheral and traumatic episodes in collective memory and suggests that political violence constitutes a social periphery of its own, contributing to Marseille's "mauvaise réputation" as the French capital's negative, meridional 'other'.